Preparation With a fine pored roller brush, prepare the board with 3 coats of DecoArt Slate Gray. Sand the paint between coats 2 and 3. Do not sand the final coat of paint so as to retain the eggshell type finish. A Few Gentle Reminders: Tuscany Trompe L oeil II Develop objects in the following order: Trace Trace the design in pencil. Each symmetrical (same on both sides) object must be checked for symmetry. With pencil sides out, fold the glass, pitcher and jug in half to assure that both sides match. Erase the side that appears less correct and use the opposite side to retrace. The bread and fruit are asymmetrical therefore it is not necessary to prove these objects for symmetry. Transfer #1 Tear or cut a small hole in the tracing paper. Place a piece of tape over this hole, sticky side down. Align the fold lines from the previous step so that it is perpendicular (forms a T ) with the bottom of the board. Slip graphite behind the tracing paper. Transfer everything except the lamp, window and the glass. Review DVD: Tips & Techniques of a Master Review Proving a design prior to transferring Apply thin coats of paint two applications rather than one thick coat. Don t rush. Build the foundation of the painting well and the final development will be easier and more effective. A color is neither right nor wrong in itself. It is how it is used that determines if it is correct. Always test your value within the context of your painting. Palette right does not mean picture perfect. Only judge in relationship to the painting. Color is a partnership with its surroundings. Form is the first consideration based on right hand light source. Decorations, characteristics, markings Harmony adjustments - glazes, accents, tints Dimensional adjustments - Values, hues, and intensities Texture. Shines and Shadows are last. Allow the painting to cure in the mind and eye for a few weeks before applying the final varnish. Until the fat varnish is applied, adjustments may be made. Tuscany Trompe L oeil IV - Page 2
Palette Set up and mixing The original piece was painted with Genesis Heat Set Oils. There is a conversion chart included if you care to use traditional oils. How to use the codes on the value placement guides Each object is placed using 1, 2 or 3 steps. The first step is the form, the second and third are embellishments. The codes for the values are: TW: Titanium White Y: Genesis Yellow R: Genesis Red O: Orange (or mix R + Y) QC: Quinacridone Crimson UB: Ultramarine Blue RS: Raw Sienna BU: Burnt Umber Blk: Mars or Carbon Black PB: Pthalo Blue 05 Vir Bl: Viridian Blue PG: Pthalo Green 01 Set of Grays: Values of Gray 02-08 (or mix TW + Black) Set of Flesh tone: Values of Flesh 02-08 (or mix BU + RS + TW) Mixes: Violet: Warm White: UB + QC TW + a small amount of Y... = Light (L) and/or building up to Highlight (HL) /////// = High Dark (HD) and/or going down to Dark (D) xxxxxxx= Low Dark (LD) blank = Medium (M) Abbreviation Archival Winsor & Newton Genesis Value Placement Guide These guides are illustrated throughout this lessons and will show how to create the form of each object. The light source is from the upper right, slightly in front. The light areas will be on the right and above the center line. The dark areas will be on the left and become gradually darker as the object recedes from the light. Mixing Formulas Formulae for mixing is given throughout this lesson. You will find that the mixes for the hue are given first. This is followed by a colour that will raise or lower the value. Once the value and colour are mixed, the next addition usually is meant to either brighten or dull the colour. Finally, a colour may need to be mixed into the pile that will adjust the temperature. W Soft Titanium White Titanium White White Y Cadmium Yellow Mid Cadmium Yellow Pale Genesis Yellow R Cadmium Scarlet Bright Red Genesis Red QC or RV Permanent Alizarine Alizarin Crimson Quinacridone Crimson UB Ultramarine Blue Ultramarine Blue Ultramarine Blue BU Burnt Umber + R Burnt Umber Burnt Umber RS Raw Sienna Raw Sienna Raw Sienna Blk Mars Black Ivory Black Carbon Black PB Cerulean Blue Cerulean Blue Pthalo Blue 5 NY Naples Yellow Naples Yellow RS + TW + Y OG Olive Green Olive Green RS + UB + BU BC or PM Purple Madder Alizarin Purple Madder RV or QC + Blk PG Pthalo Yellow Green Cadmium Green Pale UB + Y + W Tuscany Trompe L oeil IV - Page 3
Painting Overview This painting is a below eye level still life with an upper right hand light source. The light is coming from slightly in front. Each object will have the light in the upper one-fourth due to the upper right light source. All dark sections will be left of center. There are three stages of development. The painting must be dry after each stage is completed. The first stage is the creation of form. Each object is created disregarding other influences such as details, texture, cast shadows or final shines. The second stage is the addition of the details. In the final stage, all additional layers are transparent. Added in the final stage is reflected colour, shines, reflected light and cast shadows. Stage One Background Landscape Sky Mix the following: Medium: TW + PB + RS Light: Medium + TW Using a large brush lay in the sky getting gradually lighter at the horizon line. Add clouds with WW and Blue Tint Land Mountain: Base in with TW + Blk or Gray 06. Blend the top of the mountian into sky s horizon. Fields Base the warm green fields in with TW + Y + Blk + RS Base the cool green fields with the warm green field + UB Base the light brown fields with RS + BU + a tch of TW or Flesh 07 Base the dark brown fields with RS + BU + a tch or Flesh 04 Division between the fields: RS + TW Fence Base with Flesh 06 or BU + RS + TW. Add a the light section a light gray. Add accents of field colors, reds and oranges. Tuscany Trompe L oeil IV - Page 4
Gray Building Base the building with TW + Black (or Gray 6) While the underpainting is wet, add the divisions between the bricks and windows with Black. Blend the divisions into the wet paint slightly. The greenery will be added after the building is dry. Tan Building Base the building with TW + BU + RS (or Flesh 6) While the underpainting is wet, add the divisions between the bricks and windows with BU. Blend the divisions into the wet paint slightly. The greenery will be added after the building is dry. Pitcher Green Section Medium: Light: High Light: Dark: Low Dark: PG + TW + BU Medium + TW + Y Light + TW + Y Medium + Blk Dark + Blk Brown Section Medium: BU + TW + RS (or Flesh 06) Light: Medium + TW + RS (or Flesh 07) High Light: Light + TW (or Flesh 08) Dark: Medium + BU (or Flesh 05) Low Dark: Dark + BU + Blk (or Flesh 04) With a #12 filbert, place the values as indicated on the diagram. Blend the values until there are no lines of demarcation between the values. Slightly blend where the brown and green sections. Tuscany Trompe L oeil IV - Page 5
Brown Jug Medium: BU + RS (or Flesh 03) Light: Medium + TW + RS (or Flesh 04) High Light: Light + TW (or Flesh 05) Dark: Medium + BU (or Flesh 02) Low Dark: Dark + Blk With a #12 filbert, place the values as indicated on the diagram. Blend the values until there are no lines of demarcation between the values. Slightly blend where the brown and green sections. Paint around the oranges. With Black, add the divisions between lip and the rolled edges. Blot with a single ply of tissue and then mop the Black down into the wet paint. Oranges Rind Sections Mix the following: Medium: O + TW + RS Light: Medium + TW + a small amount of Y High Light: TW + a small amount of Y Dark: Medium + QC Low Dark: Dark + QC + a touch of UB Using a #10 filbert lay in the orange rind sections according to diagram. Blend use short, choppy strokes so as to create a textural surface.. Once the values are placed and blended, pounce up and down with a #2 mop following the values zones as placed initially. Paint around the inside of the orange or any exposed pith sections. Cut and Peeled Oranges Mix the following value scale Medium: TW + a small amount of RS Light: Medium + TW + a small amount of RS Dark: Medium + RS + Blk Paint according to the diagram. When dry, the white membrane will be added. Tuscany Trompe L oeil IV - Page 6
Fig Base the Fig with UB + QC + Black. Add a light section where diagrammed with TW + PB. Add the dark section with Black. Add the stem with BU. Highlight with TW + PB and shade with Fig basecoat. Bread Medium: Light: High Light: Dark: Low Dark: BU + TW + RS (or Flesh 06 + RS) Medium + TW + RS (or Flesh 07 + RS) Light + TW (or Flesh 08 + RS) Medium + BU (or Flesh 05 + RS) Dark + BU + Blk (or Flesh 04 + RS) Place accordinging to diagram. Window Frame Medium: TW + Black (or Gray Value 07) Light: Medium + TW (or Gray Value 08) Dark: Medium + Black (or Gray Value 06) Fill in the window frame with Medium except the underneath of the supports and the small thickness areas. Place dark in these two areas. Place light value on the leading edge or projecting corner of the frame. Blend these areas together slightly. Lamp Base the metal on the lamp with Black. Add highlight in the center of each section with TW + RS. Shelf Medium: BU + TW + RS (or Flesh 07) Light: Medium + TW + RS (or Flesh 08 ) Dark: Medium + BU (or Flesh 06) Low Dark: Dark + BU + Blk (or Flesh 05 ) Place values as indicated on the placment guide. Blend slightly between the front of the shelf and the top of the shelf. Tuscany Trompe L oeil IV - Page 7
Glass The glass is created by first defining what is behind the glass and what is inside of the glass. Paint the floating citrus using the orange scale. Next darken the inside of the glass with a Glaze of Black (Black plus Thinning Medium). Make it darkest in the center of the glass and let it fade as it moves away from the center. The Black glaze does not touch the outside edge of the glass. With Warm White, add the water line into the wet glaze. This light area should be the most visible where drawn as curving rectangular shapes. 1.With Light Gray (Value 08), add the primary shine in the front of the glass. Start the shine with the gray. This shine should appear transparent. Next add a stronger shine with WW. This shows where the light is striking the glass directly. Add a value change within this shine with the WW. This shine is the lightest at the top of the glass and lessens as it moves down the front of the glass. It is widest at the top of the glass and narrows as it moves down the front of the glass. 2. With Light Gray (Value )*), add a lesser shine on the back of the glass to show the back plane of glass. 3 and 4. Add WW on the foot and stem of the glass. The shine on the foot is brighter than on the stem. 5-7. With Blue Tint (PB + TW), add the pass through light on the lower left of the glass. This shows where the light is passing through the glass. 8. Add Orange and Red as a way to reflect and repeat color but also as a device to find the edge of the glass 9. Add BT to the edge of the glass to help define Tuscany Trompe L oeil IV - Page 8
Stage Two Rolled Edges on all objects Reinforce the dark section to create the rolled edges with Black. Place on the top edge of the container and underneath the rolled edge. Blend the dark values toward each other. Greenery on Buildings Add greenery from the various greens used in the fields. Highlight with TW + PB. Shines Primary Shine Explanation A primary shine is the reflection of the light source. It is where the light is striking the object directly. This shine will be in the center of the previously created light section. Shines begin with a transparent, dull haze behind the final shine. This shows that that light spreads out once it strikes an object. The harder the surface of the object, the less the light will spread. The shine is sharper on harder objects. The shine on the oranges, bread and fig will be a textural broken shine while the shine on the hard shiny objects will be sharp. Brown Jug With the last value used (light or highlight) add a dull haze to the original light areas on the jug. Add a stronger highlight through the dull haze with warm white. Add a smaller, stronger shine in the center of this shine. Green Pitcher Add a shine with Warm White. This will make the pitcher appear glazed and shiny as the shine just bounces off of the surface. Build according to the directions for the Brown Jug. Fig Add a shine with Blue Tint. This should be an irregular shine as the surface of the fig is irregular. Bread Add a dull shine to the bread with Warm White. This should be an irregular shine as the surface of the bread is irregular. Primary Shine Procedure on Oranges Using a #4 filbert lay in film of the highlight from the Orange scale. This film of paint should be transparent and not extend beyond the initially created light section. Switch to a 3/0 spotter loaded with a heavier load of Warm White. Determine where the light would strike the object first (upper and right). Lay the 3/0 brush down first in the area. Coax the paint down the object totally inside of the initial transparent film. Stop prior to the end of the transparent film of paint. With a #0 mop, blend this shine into the film of paint. Reload with Warm White and repeat but this application is contained within the second application of paint. It should be getting more opaque at the point where the light is striking the object directly and then fading to nothing as it moves away from this section. This is called pyramiding a shine. The wide base of the pyramid is the transparent film. The next application moves up the pyramid and is contained within the base. The final or apex shine is at the top of the pyramid. No level of a pyramid can extend beyond the lower section of the pyramid or it would collapse. The same is true for a pyramid shine. The final shine on the orange peel should be a broken textural shine. Tuscany Trompe L oeil IV - Page 9
Reflected Light Procedure Load an old brush with Blue Tint. Wipe the majority of the paint out of the brush so as to have merely a dirty brush. This reflected light is placed on the dark side of the objects. It must go on the exact outside of the objects as this where the light is striking the object first. Allow the surface texture of the board to extract the paint out of the brush. If the paint appears chalky, it is lacking in pigment so add more blue to the Blue Tint mixture. Shadows Shadows occur only if these three things are present: light, an interruption of the light and a receiver of the shadow. If one of these elements is missing, a shadow cannot occur. Shadows have the following characteristics: The are transparent. They fall opposite of the light source. The shadow is the shape of the object causing the shadow. They follow the form of the object receiving the shadow Shadows are cooler than the receiver. Some shadows can cast colour (as in translucent glass or liquid). Use the above guidelnes for the shadows on the table that occur from each of the objects. First place UB + BU (this makes a transparent black) where indicated in the diagram as first shadow application. Then come in with opaque black (the black straight out of the jar) and strengthen where visible on the second application of the shadow. Varnish Varnish the dried piece with Final Coat brand varnish. This varnish can be applied with either a brush or a stain applicator pad. The first coat may separate or bead up. The subsequent coats of varnish will fill in this separation. Tuscany Trompe L oeil IV - Page 10
Brick Work Instructions Cut a kitchen sponge to a keystone shape. Cut another sponge in a rectangular shape. Thin down DecoArt Natural Stucco (available at www.kingslan.com) with 30% water. Wet the sponge,wring out then dip in the stucco. Wipe the sponge on the side of a tray. Start with the keystone in the middle of the top of the arch. Press the sponge down firmly and lift straight up. Use the keystone all of the way around the arch until you hit the straight away. Leave mortar lines between the bricks.then switch to the rectangular sponge. Finish the border on both sides with this sponge. For the shelf and the frame, use your palette knife like a trowel and place an irregular application of stucco. This goes on the frame as well. Let the stucco dry for 24 hours. Paint mortar lines in with Genesis Gray 05 or equivalent acrylic or traditional oil. Stain with a commercial stain or with Mona Lisa Paint Thinner and an oil color of your choice. Do not varnish stucco. It should be matte. Tuscany Trompe L oeil IV - Page 11
Stage One Photos Tuscany Trompe L oeil IV - Page 12
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Color Match Swatches 1 Tuscany Trompe L oeil IV - Page 22
Color Match Swatches 2 Tuscany Trompe L oeil IV - Page 23